Tuğkan - Seni Çok Özlüyorum - Chord

Key D major – B minor Chords Bm, G, A, Bb Easy key G (capo 7)

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Capo 0

Bm  G  Bm  G

Bm                  G
 Tanıyamıyorum kendimi
                                Bm
Bir şekilde seni özlerken buluyorum
                          G
Bakarken öyle bazen uzaklara
                      Bm
Uzaklarda çizili anılarım

Bm   
Bir otel odasında
G
Sert bir sigara bir de ısınmış bira
A                     G
Öyle boktan işte bazen
         Bm
Keşke olsan

Bm
 Yazıp yazıp silmelerim çok yine
A
 Derdime derman kelimeler yok niye
G
 Yıllar geçmiş artık zor bir de
A     Bb    A   Bm
 Seni çok özlüyorum
 
Bm                  G
 Tanıyamıyorum kendimi
                                Bm
Bir şekilde seni özlerken buluyorum
                          G
Bakarken öyle bazen uzaklara
                      Bm
Uzaklarda çizili anılarım

Bm   
Bir otel odasında
G
Sert bir sigara bir de ısınmış bira
A                     G
Öyle boktan işte bazen
         Bm
Keşke olsan

Bm
 Yazıp yazıp silmelerim çok yine
A
 Derdime derman kelimeler yok niye
G
 Yıllar geçmiş artık zor bir de
A     Bb    A   Bm
 Seni çok özlüyorum

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Tuğkan - Seni Çok Özlüyorum Tabs

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Harmony analysis

Tuğkan – Seni Çok Özlüyorum: key and chord analysis

The song opens on Bm and ends on Bm. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B minor side because it both starts and finishes on Bm and Bm is heard 16 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to D or to Bm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	12×
V	A	Dominant — strongest pull home	A · C# · E	8×
bVI	Bb	Borrowed from the parallel minorborrowed chord	Bb · D · F	2×
vi	Bm	Relative minor — the melancholy side	B · D · F#	16×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	16×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv	Em	Subdominant — moves away from home	E · G · B	—
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	12×
VII	A	Subtonic — steps back to the tonic	A · C# · E	8×
#VII	Bb	Chromatic colour chordoutside the key	Bb · D · F	2×

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 38 times in total; 3 of them sit naturally inside the shared scale. Bb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G Bm DIV → vi BmVI → iVI → i ×8
G A DIV → VIV → V BmVI → VIIVI → VII ×4
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×2

The move to watch is G → Bm, heard 8 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
On Bb, follow the chord's notes (Bb · D · F) rather than the key's scale — it's a borrowed colour.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, G, A, Bb; read them as vi–IV–V–bVI in D or i–VI–VII–#VII in Bm. Bb briefly darkens the picture: borrowed from the parallel minor. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. The final chord is Bm; the ear comes to rest in Bm.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.